Ascolti d'Arte: a collaboration with Doppiozero
Collezione Maramotti is pleased to present Artpod – ascolti d’arte, a new joint initiative. Our partner is the online magazine Doppiozero, an open cultural space for the exploration of ideas and development of innovative cultural projects involving authors, critics, journalists, researchers and scholars from a range of disciplines.
Artpod is a series of podcasts about iconic works from our permanent collection, described through the words of Doppiozero writers and performed by actors from the Teatro delle Albe company in Ravenna. For the first time, Collezione Maramotti ventures into the realm of the spoken word, offering original perspectives on historic artworks and recent acquisitions.
In a special section of our YouTube channel and on the Doppiozero website you can find the first four audio pieces:
Claudio Franzoni, a scholar of ancient art, will tell us about the fragments and stitches in Alberto Burri’s Nero con punti rossi (1956):
[…] Objects carry with them a lingering aura of past forms, of other people’s actions. By choosing this rough jute fabric, Burri opened up another path, because the image of the sack—a container that has vanished from our visual horizon—is interwoven with distant memories: contrition and repentance (the “sackcloth” of the Middle Ages), but also the toil of manual labour: lifting, carrying, filling and emptying. In the austere fabrics of Nero con punti rossi we find other things as well. […]
Actress Ermanna Montanari, in her own voice, transports us into Enzo Cucchi’s transcendental painting Più vicino agli dei (1983):
[…] A clap of thunder has cracked open this mandorla, suspended who knows where, and guided the painter’s hand. It forces itself into and removes itself from view, and thus ensnares us, draws us into hunting for its buried meaning, makes us wonder why it resonates deep within. The title, which means “Closer to the Gods”, might call to mind a pagan universe: but here we find no Olympus, no trace of capricious anthropomorphic deities. There is a tremor in the mark, and the tremor is TREMENDUM, it is all that is shrouded in mystery. […]
The psychoanalyst Massimo Recalcati explores the world of the sublime, looking at Claudio Parmiggiani’s Caspar David Friedrich (1989):
[…] all of Parmiggiani’s work exalts: transcendence as a twist of immanence. To this painter, the numinous is everywhere. Infinity, he writes, “lies within a hand”. It is not gnostically depicted as something beyond the world, but rather takes place only within this world’s finite horizon. This is, if you will, Parmiggiani’s fundamental Franciscanism: thinking of the absolute as an embodiment of the world’s immanent presence. His spirituality thus does not take the path of fleeing the world, but of embracing its overflow, its splendour and atrocity. […]
Journalist and contemporary art critic Silvia Bottani probes the silent details of David Salle’s The Farewell Painting (1983):
[…] The scene is a theatre of absences, and the lack of a hierarchy intensifies our need to question what lies in the spaces between subjects. Yet a spiderweb of connections stretches between the images, filling the viewer with a subtle, pervasive unease. Salle's painted rooms, with their surrealisms, conceptualisms and every other classification in the taxidermy of art foreshadow the waiver of the single meaning, the single answer one seeks by frantically ransacking the surface of the painting. […]
The readings will continue in April and May with pieces by Riccardo Venturi, Alessandra Sarchi, Marco Belpoliti and Rocco Ronchi, respectively about Jannis Kounellis, Mario Merz, Evgeny Antufiev and Atelier dell’Errore BIG.